Composer: Angela Gheorghiu
Works: Mysterium, Tatal nostru – Anton Plan, Priveghiati si va rugati – Gheorghe Popescu-Branesti, Stihuri din Catavasiile intampinarii Domnului – Gheorghe Cucu, Iubi-Te-voi, Doamne – Evghenie Humulescu, O holy night – Adolphe Adam, Mille cherubini in coro – Franz Schubert, Pie Jesu – Gabriel Fauré, Wiegenlied Op 49 No 4 – Johannes Brahms, Auf Flugeln des Gesanges Op 34 No 2 – Felix Mendelssohn, Salve regina – Giacomo Puccini, Ave Maria – Pietro Mascagni, Pieta, Signore – Louis Niedermeier, Quia respexit – J.S. Bach, Ave Maria (Ellens dritter Gesang) – Franz Schubert, Adeste, fideles – John Wade
Performers: Angela Gheorghiu (soprano), Romanian National Chamber Choir “Madrigal”, London Philharmonic Orchestra, Ion Marin (conductor)
Recording: All Hallows Church, London, 2001
Label: Decca
Angela Gheorghiu’s “Mysterium” is a poignant reflection of personal and cultural devotion, encapsulating a diverse range of sacred and semi-sacred repertoire that resonates deeply with the singer’s Romanian heritage. This collection spans various composers and styles, from 20th-century Romanian works to cherished Western classics, all unified under the umbrella of Gheorghiu’s artistry and the memory of her late sister, Nina. The recording opens with the resonant tap of the toaca, immediately anchoring the listener in the rich traditions of Orthodox Moldavia, setting a tone of reverence that permeates the album.
The performance quality, while consistently proficient, reveals inconsistencies in interpretative choices. Gheorghiu’s rendition of Iubi-Te-voi, Doamne stands out as particularly moving, showcasing her ability to convey profound emotion with clarity and resonance. Under the deft orchestration of Chris Hazell, the piece allows her voice to soar, imbued with a sense of heartfelt longing. However, this high standard is not universally maintained. The Fauré “Pie Jesu” lacks emotional depth, coming across as somewhat perfunctory rather than transcendent. Similarly, her German diction in Mendelssohn’s Auf Flugeln des Gesanges feels unidiomatic, which detracts from the overall impact of the performance.
The orchestral accompaniment provided by the London Philharmonic Orchestra, while competent under Ion Marin’s direction, often feels merely supportive rather than fully engaged. This is especially evident in the Puccini “Salve Regina,” where Gheorghiu’s voice opens magnificently, yet the orchestration and overall dynamic fail to elevate the performance to the heights it could achieve. Hazell’s arrangements generally succeed in their clarity, particularly in the lively orchestration of Niedermeyer’s Pieta, Signore, where the interplay between voice and oboe is especially delightful. Nevertheless, the lush orchestration in Schubert’s Ave Maria is overemphasized, leading to a performance that risks losing the essential simplicity and spiritual beauty of the piece.
The recording quality itself is commendable, capturing the nuances of Gheorghiu’s voice alongside the choir and orchestra with admirable clarity. The acoustic of All Hallows Church lends a natural warmth to the proceedings, enhancing the intimate nature of the selections. However, a lack of comprehensive program notes regarding the arrangements and orchestrations diminishes the educational value of the album, leaving listeners without critical insights into the creative decisions behind the performances.
Gheorghiu’s “Mysterium” offers a rich tapestry of sound that fluctuates between moments of profound beauty and less convincing interpretations. The dedication to her sister adds a layer of poignancy that cannot be overlooked, yet the unevenness in execution and interpretation may challenge listeners seeking a cohesive artistic vision. While the album contains gems, it also serves as a reminder of the complexities involved in translating personal and cultural narratives into the universal language of music.
